80年代後半のOVA隆盛期のヒットシリーズだった、オカルト美少女アクション『ドリームハンター麗夢』の一本。　年齢不詳の美少女探偵で、夢の世界に入り込んで魔を祓う麗夢。宿敵の死神博士をはじめ、人々を苦しめる多くの魔人や魔物を撃退してきた彼女だが、新たな敵は麗夢自身を狙う仮面の魔女だった！　現実世界にも影響する時限装置付きの爆弾リンゴを用意し、魔女は麗夢を罠にはめるが……。

本片是日本电影天皇黑泽明对梦的勾画，全片共有八个梦境，分别是：太阳雨、桃园、风雪、隧道、乌鸦、红色富士山、垂泪的魔鬼和水车之村。这八个梦几乎贯穿了人类生活的所有主题，战争与和平、社会与人生。在不同的梦境里有着不同的场景，配合不同的色彩，把人类所面对的所有主题一一呈现。

本片是日本电影天皇黑泽明对梦的勾画，全片共有八个梦境，分别是：太阳雨、桃园、风雪、隧道、乌鸦、红色富士山、垂泪的魔鬼和水车之村。这八个梦几乎贯穿了人类生活的所有主题，战争与和平、社会与人生。在不同的梦境里有着不同的场景，配合不同的色彩，把人类所面对的所有主题一一呈现。

A beautiful woman falls asleep on an isolated beach and starts dreaming about sexual encounters..

A beautiful woman falls asleep on an isolated beach and starts dreaming about sexual encounters..

1941年，欧洲几乎所有地区都被德国占领了，正当欧洲人民都在梦想获得自由的时期，塞尔维亚西部城市查查克和乌日策，就好像是自由的孤岛一样。在这些自由的城市，一个女孩和一个男孩梦想着拥有更美好更光明的未来，梦想着在十年或是二十年后会发生的事情。可是，战争还是来临了，打断了他们的梦想。德军再次发动进攻，游击队又撤退了。死者仍在站岗。然而梦想不能被杀死。入围第17届柏林国际电影节。

1941年，欧洲几乎所有地区都被德国占领了，正当欧洲人民都在梦想获得自由的时期，塞尔维亚西部城市查查克和乌日策，就好像是自由的孤岛一样。在这些自由的城市，一个女孩和一个男孩梦想着拥有更美好更光明的未来，梦想着在十年或是二十年后会发生的事情。可是，战争还是来临了，打断了他们的梦想。德军再次发动进攻，游击队又撤退了。死者仍在站岗。然而梦想不能被杀死。入围第17届柏林国际电影节。

Cinematized version of Lee Kwang-su’s novel, which tells the story of the dream Josin had, a Buddhist monk at Naksan temple in the era of the Three Kingdoms. In his dream, Josin lives in anxiety and agonizes over a woman. In the process, he lives his whole life and becomes enlightened.

年轻僧侣曹申被泰洙女儿月礼的花容月貌所倾倒，一见倾心，两人私订终身。但月礼后来另嫁他人。某夜，月礼轻悄推开佛堂大门，投入曹申的怀抱，两人决意私奔。月礼丈夫知道此事后，携匕首紧追其后。就在曹申一声惨叫后发现，原来一切都只是一场幻梦。

A picture that might be rather difficult for present-day non-Russian cinema lovers to understand, Mikhail Romm's "Mechta" tells the story of Anna, a Ukranian girl from Lviv, who had to leave her peasant home for a city in Poland to be able to support herself. 　　The film begins as a comedy - we learn that Anna works nights at a restaurant and days as a servant for madam Rosa Skorokhod (played by the genius Ranevskaya - one of her first dramatic parts), a Jewish shop and lodging-house owner with a work-less engineer son. Throughout the film the simple, naive Anna is surrounded by many Polish middle ground characters, all spoiled by the horrors of capitalism, and all depicted with Romm's immaculate sense of irony. From the beginning of the picture we sense that Anna will end up playing a heroic part, which she does - first trying to walk to Russia with Lazar Skorokhod, madam Rosa's son, and being put into jail for such a deed, and in the end of the film returning to Poland as a political activist and showing Lazar a picture of a factory built in Soviet Russia from his blueprints, which had been refused by all Polish companies, the fact that had forced him to quit engineering and take over his mother's grocery store. 　　"Mechta", or "Dream", filmed in the beginning of the forties, is a highly politicized picture. In the first part, Lazar asks Anna of her dreams - she answers that she would like her parents to be able to afford a cow, to get married and health for all her beloved ones. Lazar, on the other hand, dreams of becoming an engineer and helping humanity "walk" by "moving its legs". This disagreement is remembered in the end of the film, when Anna and Lazar meet again, for the first time in five years - he tells the now-activist young woman of how he remembers her past foolish dreams and adds that he has completely forgotten about his. What had started out as a comedy by the second half turns into a serious drama. Not only Lazar reaches the end of the film unsuccessful - all the secondary Polish characters fail to have their dreams come true, one ending her "eternal bride" life by suicide. The rather clear message of the movie, thus, can be further simplified to the message of "Capitalist = Reactionary and Bad, Communist = Modern and Glorious," the fighter Anna being a representation of change that will come in spite of the hardships. 　　When a viewer chooses a film made in the times of Stalin, he should be ready for the ideological pathos that it will most surely contain. If one is able to either treat it with condescension, attributing much to the time, or to keep in mind a vivid image of the historical period and try to imagine himself in the place of the original viewers, he is bound to be in for an immensely pleasant experience. If not, it would be better to completely avoid early Soviet cinema - for the sake of not labeling as bad something that has simply not been fully understood.